Men On Boats at Theatre in the Round Players

* Disclaimer: On March 28th I suffered a rupture in my right bicep muscle, which has left me without the use of my right arm. I will endeavor to continue seeing and reviewing shows however the reality is that the reviews will need to be significantly shorter. For now I will attempt to provide you, faithful readers, with a few sentences that will make clear whether a show is worth your time and money. My apologies to all of the artists in front of the curtain as well as behind whose work I may not be able to comment on. Hopefully this will be a short-term accommodation, I will do everything in my power to get back to writing full reviews as soon as is humanly possible.

Men on Boats somehow reminded me off Valley Fair, the amusement park in Shakopee, specifically the Thunder Canyon and Flume rides. Are those still attractions at the park? It’s been at least a decade since I’ve been out there. The set design, by MJ Leffler, no doubt has something to do with this flashback effect. It’s a rather remarkable build complete with cave, river, and western vistas. Every available bit of real estate is utilized to tell the story of a 1869 expedition by 10 men down the Green and Colorado Rivers from Wyoming to Big Canyon (now known as the Grand Canyon). Technically the show is on par with the higher standard we have come to expect under Executive Director Larisa Netterlund’s tenure. Director Sophie Peyton and Movement Director Kelly Nelson find effective ways to bring this tale of exploration and adventure to life in the arena. Honoring Jaclyn Backhaus, the playwright’s intentions, the cast is made up of non-cisgender white males.

Per the Director’s note, the play seems designed to be a commentary on Colonialism and White supremacy. I’m not sure that subtext comes through as strongly as they may have desired. There are moments in the script that certainly address these issues, and the casting definitely changed the way the audience reacts to the characters and what they are doing. It’s an interesting and effective way of forcing an audience on an almost subconscious level to view the world of the play through a different lense. The 10 actor cast are all solid, no one stands out from the others performance wise but they all stand apart from each other in terms of creating distinct characters that we remember and feel consistent. They work as a true ensemble, which is exactly what is required for this play. While the play doesn’t wow in any single aspect, it’s entertaining throughout, there are moments that of humor, drama, adventure, and social commentary. It also leaves you wanting to find out more about the history of the actual expedition led by John Wesley Powell on which the play is based. There’s nothing wrong with just being entertained, but I think anytime theater leaves you thirsty to learn more about something is a plus.

Men on Boats runs through June 2nd at Theatre in the Round Players in Minneapolis. For more information and to purchase tickets go to https://www.theatreintheround.org/home/season-placeholder/72nd-season/boats/

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Skeleton Crew at the Guthrie Theater in Minneapolis.

Jennifer Fouché, Darius Dotch, Stephanie Everett, and Mikell Sapp Photo by Dan Norman

Under the direction of Austene Van, the hardest working woman in theater, Dominique Morisseau’s Skeleton Crew comes vividly to life on the Guthrie Theater’s McGuire Proscenium Stage. The play follows four characters at a Detroit, Michigan, Stamping Plant that is facing the possibility of shutdown. While the plot follows the tensions that surround who knows if the plant’s closing vs who doesn’t, and at times the characters try and make it into a workers vs management battle, but it’s really about the characters. Morisseau’s characters are richly drawn, no one can be reduced to a simple description like Foreman, thief, Shop Steward, single mother. No one ends up being defined by their first impression, no one is a hero nor villain, they’re all just individuals doing the best they can for themselves and each other. The undeniable authenticity of the characters comes from Morisseau’s well crafted script. The fact that we come to care strongly for all four characters is due to the remarkable talents of the four-person cast.

Faye, who seems to live in the break room, is played by Jennifer Fouché, she’s the Union rep who’s been at the plant for 29 years, at 30 years her retirement benefits are greatly increased. Darius Dotch, plays Reggie the Foreman under enormous pressure to keep productivity up and discover who’s been stealing materials from the factory. Stephanie Everett, plays Shanita a single woman who is the best on the assembly line and is also pregnant, she needs her job and her benefits. The final character Dez normally played by Mikell Sapp, was performed by the understudy Domino D’Lorion at the performance I attended. Dez is a young man who has dreams of opening his own auto shop and only six months away from having enough money saved. I won’t go into further details of their characters but to say that we care about all of them and that they defy any attempt to categorize or stereotype them. Fouché and Everett were brought in from out of town so they are both new to me as performers and are excellent in their roles. Both Dotch and Sapp are performers I’ve seen before and while I can’t comment on Sapp’s performance not having seen it, I’m familiar with his work and am confident it will be at the same high level as the rest of the cast. Dotch is the role I most identified with and he does an excellent job playing the reality of being the boss, but one who has come up with workers. He’s trying to serve the needs of two different groups that in some ways have opposing goals, Dotch skillfully finds the way to communicate that internal struggle and the stress it puts on the human being in that role. I do want to mention that I thought Domino D’Lorion’s performance as Dez was flawless with a winning combination of charm and toughness that served the character well.

The drama and humor is played out on a wonderfully detailed set designed by Regina Garcia. Built into the set are some tinted windows which when lights are shown through backstage allows the performers to be seen in silhouette dancing, which is used during the scene changes. It’s a neat effect, though I’m not entirely sure what it’s purpose is, I took it to represent the assembly line, the workers doing their choreographed moves down on the factory floor. I liked Samantha Fromm Haddow’s costumes as well, especially the one’s for Reggie several of which I wouldn’t mind having in my own closet. It’s a fantastic production that does what all great art does, help us see the world through eyes other than our own. It’s refreshing to see a drama that feels real, engaging, and doesn’t feature an antagonist. No one is the bad guy, no one is the savior, we are all just at the mercy of life, and it’s how we navigate it which decides whether we are victims or not. None of these characters are, they are all fighters, and working for the best possible outcome they can get from life.

Skeleton Crew runs through June 9th at the Guthrie Theater in Downtown Minneapolis for more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2023-2024-season/skeleton-crew/

Blended 和 (Harmony): The Kim Loo Sisters at History Theatre a Co Production With Theater Mu

Morgan Kempton, Suzie Juul, Ann Michaels, Audrey Mojica, and Kelsey Angel Baehrens Photo by Rich Ryan

Blended 和 (Harmony): The Kim Loo Sisters is receiving its world premiere at History Theatre in St. Paul. Commissioned and produced with Theater Mu, the original musical with book and lyrics by Jessica Huang and music by Jacinth Greywoode tells the story of the Kim Loo Sisters during the 1930s and 40s. From their first appearance on Broadway through their reunion in post World War II America, the musical tracks parallel lives over two decades as a quartet becomes a trio with one sister marrying and moving to China. The musical does a nice job of giving us look at the singing act and following the life of the expat sister Jenee. We also get nice moments between the Kim Loo Sisters parents, between Bubbles, the youngest sister and up and coming dancer Ann Miller, between their mother and George White the Broadway Producer, and Jenee and her father-in-law General Li. The musicals filled with so many great scenes that it’s easy to lose sight of the fact the theme of racism, which one feels should be central, seems buried in subtext. When it’s brought up, it’s front and center for a few moments and then we moved on. Maybe no one wants to see a musical that’s heavily about racism or maybe there’s just too much story here to tell that there isn’t room to layered and subtly. It feels like it’s either completely absent and then moments of “aha, racism!”. It seems like it is the motivation for a lot of what happens in the play but isn’t integrated so that we feel the impact as much as we understand it.

The show is filled with great new songs performed very well by an extraordinary cast. From the opening number “Four for the Price of One” it’s clear that the actors performing as the Kim Loo Sisters, Morgan Kempton, Suzie Juul, Audrey Mojica, and Kelsey Angel Baehrens sound and perform well together. Likewise, it’s our first look at the choreography by Rush Benson which I really enjoyed. It perfectly captured the style of the 1930s and 40s musical. As seems to be true in all singing groups one or two of the Act stand out from the others. Here it’s the character of Jenee who leaves the Act and ends up living in China with her husband and child, the daughter-in-law of a general. The other is Bubbles who is the youngest has the most charmingly confident personality of the siblings. Baehrens plays Jenee in a way that we feel the characters uneasiness with the way they’re Act is molded to appeal to White America. There’s an intelligence and thoughtfulness in the portrayal that sweeps you along and gives you a sense of this character has traveled the world and made hard decisions. Meanwhile, Mojica as Bubbles is the spitfire of the group we see glimpses of her wit in the very first number but she really shines in the song “Worship Me” which is wonderfully humorous, Mojica absolutely owns it. There’s some great numbers between the girl’s Mama played by Ann Michaels and the producer George White played by J. C. Cutler, negotiators who negotiate a couple of times in a song titled “Grateful” which I also thoroughly enjoyed.

I’m not a huge fan of video projection in Live Theater I think there are times where it can be overused and I fear for a day when we lose the craft of creating sets. That said, the use of video projection in Blended 和 (Harmony): The Kim Loo Sisters, makes a very good case for its use. Here we see it used effectively in multiple ways. First, it’s not replacing set pieces but helping to augment them, creating a backdrop for certain scenes. Secondly, they’re a few scenes at train stations that are very well done. Thirdly, and this is probably my favorite use during the song “Pantages” by Jenee and her Papa, played by Ariel Estrada, who does a great job in the dual roles as Jenee’s father and father-in-law. As the characters sing about trips to the movie theater when she was young specifically mentioning Buster Keaton and Clare Bow, we are treated to Clips projected behind them from those Legends of the silent Cinema. Anytime anywhere someone incorporates Buster Keaton into their work whether it be Star Trek: Discovery or Blended 和 (Harmony): The Kim Loo Sisters, I’m all in. So kudos to Video Designer Miko Simmons and Video Programmer Leslie Ritenour for appropriate and well executed use of video projection. Also Director Lily Tung Crystal for this well-paced energetic and Charming production.

Blended 和 (Harmony): The Kim Loo Sisters runs through May 26th at History Theatre in downtown St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2023-2024/blended-harmony In the spirit of Theater Mu’s Pay As You Are program, History Theatre has set up a special code for Mu patrons. Make sure to use the code MU23-24. You will receive 50% off Tier Five, 49% off Tier Four, 21% off Tier Three, 15% off Tier Two, and 9% off Tier One seats—making the lowest tickets start at $15. Click here for a screenshot of where to enter the code/what it looks like when it’s applied.

Bonehouse/Outsider Two One Act Plays From Ghoulish Delights at the Crane Theatre

Ghoulish Delights is the theater company behind the Mysterious Old Radio Listening Society (MORLS) podcast and live shows. In fact the first of the two one act plays in this current production Bonehouse by Kendra Fanconi is a story I first heard via the MORLS. I don’t think it was a regular podcast I think it was a Patreon extra. It’s told from the perspective of young boy played by Xan Mattek who lives in a small town with a secret. The character recounts his numerous attempts to escape the town which are always thwarted by his fellow townspeople. The second story Outsider is by H.P. Lovecraft and is told from the point of view of Tim Uren’s character who speaks of existence totally in darkness in a castle from which he longs to escape. Uren narrates the characters circumstances and eventual escape from his dark prison, but what new horrors await in the outer world? I enjoyed both acts but I’m conscious of the fact that they’re not for everyone. They rely heavily on the spoken word and an audience for whom language and ideas are as effective at creating a world in their mind as seen action is. Fans of the MORLS podcast will feel right at home with these as they are use to creating that theater of the mind imagery.

Mattek has the always tricky task of an adult playing in adolescent, but she does a solid job of carrying the play and not falling into the trap of playing the role too childishly. Uren for his part is squarely in his element in a role reminiscent of his one man portion of Ghoulish Delights’ Rattus Rattus “The Rats in the Walls” from a couple of years ago. Dence with heightened language which verbally creates an atmosphere of ancient darkness and dread. The velvety descriptions flow from his mouth like blood from a head wound, freely and ceaselessly until the moment they coagulate in his throat in a moment of dawning horror. Uren does the great job of physically realizing this character that has been twisted and shriveled hidden away from the world outside. The cast is rounded out in each play by the Reverend Matt Kessen, at least that’s how I think of him, and Ariel Pinkerton. The duo play various Town Folk in Bonehouse and share bits of the narration with your Uren in The Outsider, well also stage managing the small but effective Scenic Design. Extra shout out here to Pinkerton aside from performing in both one acts, also ran the box office, sold concessions, and was responsible for the production design and construction, undoubtedly sewing costumes and carrying the cast across raging rivers in a thunderstorm. I may have made up that last part but I wouldn’t be surprised.

The program runs around 1 hour total with no intermission, each one act ends right when it should, they are nice short digestible but dark stories. Those who’ve read H.P. Lovecraft may share my view that a little is really effective, but a lot can be very draining. For more information and to purchase tickets to Bonehouse/Outsider go to https://www.ghoulishdelights.com/shows/

Rasputin Returns For a Two Week Run at Open Eye Theatre, Do Not Miss!!!

Ryan Lear, Brant Miller, Allison Vincent, and Matt Spring Photo by Dan Norman

The best show of the 2023 Twin Cities horror festival is making a special two-week return engagement at Open Eye theater. Slightly expanded but in no way diminished the show has to be seen to be believed. Every performance sold out at the TCHF last fall so don’t wait to get your tickets. Below is reprint of my review from last fall.

Rasputin from Four Humors, the theater group that started the TCHF returns with their first post pandemic show and it was the best of the night, running neck and neck with Marie-Jeanne Valet, Who Defeated La Bete du Gévaudan from opening night as “Best of the Fest”. What do they have in common? Both are based on historical events, both set during a period in history when a revolution is just over the horizon, both feature a live musical score performed on stage, and finally, both feature Allison Vincent. It’s becoming clear that if you want to have a hit show at TCHF, you cast Allison Vincent in it. This time Vincent also is credited as co writer along with the three other cast members Ryan Lear, Brant Miller, and Matt Spring. The play uses a Rashomon style narrative device, wherein the three men who killed Rasputin, the Mad Monk of Russia, tell their different stories to the inspectors investigating the murder. We see the same evening play out in three different versions. Spring plays Rasputin with the swagger and confidence of a rock star, it’s a brilliant turn, but then so are all of the performances in this production. There is some rather effective special effects in this show too, including a spectacularly realistic gunshot. This was sold out and I wouldn’t be surprised if that trend continues for the entire run. Definitely more on the humorous side of things, but it’s not all fun and games!

Rasputin runs through May 18th and open eye theater in Minneapolis for more information and purchase tickets go to https://www.fourhumorstheater.com/

A Year With Frog and Toad At Children’s Theatre Company Is Delightful For All Ages

John-Michael Zuerlein and Reed Sigmund Photo by Glen Stubbe Photography

A Year With Frog and Toad returns to the Children’s Theatre Company for the first time directed by outgoing artistic director Peter C. Brosius. There has been some cast changes which you may have read about in the news, I’ll leave that there, because whatever the drama behind the scenes was what’s onstage is a pleasant and warm experience. The performance I saw, Toad, normally played by Reed Sigmund, was played by his understudy Dean Holt. I think it’s safe to say based on what I saw that whoever’s playing the leads you’re going to be in good hands. Both Sigmund and Holt are long time company members and having seen each of them in countless productions, I knew we would see a great performance. The Children’s Theater Company recommends the show for all ages and I couldn’t agree more, it’s a great introduction to Young Folks. Though be warned if you have a very sensitive child there is one section, which in our car we called “the dark and stormy night” scene that did have some kids crying in the audience. Honestly, that was my favorite scene not because I like to hear kids in the audience crying, it’s just that I like a little spookable in my shows sometimes.

The performers Dean Holt has mentioned above as Toad and John-Michael Zuerlein as Frog give fully committed performances that speak well to young children while playing as good character work for the adults in the audience. The leads are supported by three ensemble players who play multiple roles Becca Claire Hart, Ryan London Levin, and Janely Rodriguez. Each gets a little moment in the spotlight to single themselves out from The Ensemble. For Hart it’s as Turtle, who can’t wait to see toad in a bathing suit. Levin gets the recurring character of snail who’s delivering what we now call snail mail. Rodriguez gets to play young frog in the “dark and stormy night” scene. The musical based on the books by Arnold Lobel is written by brothers Robert and Willie Reale, and the musicals filled with catchy songs. The Scenic Designer is actually Lobel’s daughter Adrianne Lobel, and her designs are beautifully realized. The entire look and feel of the show in fact, from costumes by Martin Pakledinaz and lighting by James F. Ingalls to the sound design by Rob Milburn and Michael Bodine is well realized. I love the little moments of stage Magic that I think can do a lot to engage the imagination of young children. For example, the flowers of bloom instantaneously, the storm in that much loved dark and stormy night scene, and Frog and Toads sled ride down the snowy hill.

A Year With Frog and Toad runs through June 16th at Children’s Theatre Company for more information and to purchase tickets go to https://childrenstheatre.org/whats-on/frog-toad/

The Spitfire Grill From Ten Thousand Things is Wonderfully Intimate and Beautifully Done

Michelle Barber, Katherine Fried, George Keller, and Dominic Schiro. Photo by Tom Wallace

Ten Thousand Things Theater is rapidly becoming my favorite theater company. This production of The Spitfire Grill in their trademark stripped down, theater in the round, lights on, and minimal sets style is simply a revelation. This is going to be one of those boring reviews because everything’s great and I won’t be able to find words expressive enough to praise the show. Based on the 1996 film of the same title it tells the story of Percy Talbott, a young woman just released from prison who looks for a fresh start in a dying small town named Gilead. Percy’s bus is met by the local Sheriff Joe Sutter who will serve as her parole officer. Sheriff Sutter takes her to the Spitfire Grill a rundown old Diner and convinces the owner Hannah Ferguson to take Percy on as a waitress and give her a room. At breakfast on her first morning, the town begins to wonder about Percy led by the town gossip and Postmistress Effy Krayneck. We also meet Hannah’s nephew Caleb and his wife Shelby, Caleb has been trying to sell the Spitfire Grill for the last 10 years. Just when Percy is questioning her decision to live in Gilead, Hannah falls and breaks her leg. Percy is enlisted to run the Spitfire with help from Shelby. Running the diner together Percy and Shelby bond and hatch an idea to raffle off the Spitfire Grill. Hannah gradually warms to the idea and they post the contest in newspapers. To enter, contestants need to send $100 and an essay on why they want the diner. The musical isn’t really about contest and a diner it’s about making connections and laying down roots, it’s about the concept of second chances in the re-emergence of hope.

I’ve written before about my preference for the front row in any theater, my desire to remove as many barriers between myself and the performers as possible. Wonderful thing about a Ten Thousand Things performance is that even if you’re in the back row you’re about as close to the performers as you are in the front row at any other theater. When Katherine Fried who plays Percy begins to sing “A Ring Around the Moon” from her prison cell at the opening of the play, you know you’re in for something special. Fried’s voice is stunning as is every aspect of her performance. There is something about the intimacy and immediacy of being so close to such talent, and that includes the entire cast, that cannot be outdone by the most elaborate touring production at the Orpheum. Michelle Barber as Hannah perfectly balances the gruff and hardened widow with the gradual thawing of her character as hope returns to Gilead. Katie Bradley as Shelby also handles her character’s transition from a timid wife to someone who is ready to embrace her own destiny with confidence. George Keller’s Effy is wonderfully played, Keller knows how to play the part to nail every moment of comic relief. Tom Reed reminds us that there isn’t anything he can’t do, playing Caleb who tries to be in charge but sees the town’s failure to thrive as his own failure. Well known for his comedic chops, Reed’s performance on the song “Digging Stone” displays his powerful singing voice. Making his professional debut is Dominic Schiro, as Sheriff Sutter, Schiro positions himself as a performer with a bright future and one to watch. The cast is rounded out by Tyson Forbes in the role of the a mysterious visitor, as well as one of the musicians. It’s a small but critical role that Forbes handles just right making the characters skittishness and solitude palpable.

The production is co-directed by Michelle O’Neill and outgoing Artistic Director Marcela Lorca who are more than up to the challenge creating so much with so little. Stripping the show down to its bare essentials rather than creating a more artificial feel strengthens the connection between performer and audience. Credited with movement is Jim Lichtscheidl who creates some ingenious ways to help set the locales using wooden poles which held by the actors become everything from prison bars to a bus. This production of The Spitfire Grill it’s a very embodiment of why I love live theater, the talent on display, the creativity, and the emotional connection to the work being performed all contribute to giving this my highest recommendation. It’s the type of performance that reminds you why the Arts not only matter but are of vital importance to our souls as human beings.

The Spitfire Grill runs through June 9th, at various locations and at affordable prices for more information and to purchase tickets go to https://tenthousandthings.org/

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I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by my colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . We post biweekly longer form episodes that will focus on interviews and discussions around theater topics. There is also shorter episodes in which we Bloggers tell you what we think you should get out and see as well as what we have on our schedules that we are most looking forward too.